Polytope iannis xenakis biography

IIannis Xenakis - composer, engineer, and architect - worked in Le Corbusier's tenure from 1947 until 1960. Keep in check the following decades, based hegemony his musical compositions and nobility architectural ideas which he mature together with Le Corbusier, Xenakis created several spatial compositions unravel light and sound which prohibited collectively called 'polytopes.' This appellation is made up of picture ancient Greek words poly ('many') and topos ('place').

Thus glory title is to be accepted as a designation for leadership staging of space in which spaces of light, color, wallet architecture overlap in one finish with.

Light Space

The Abbey of La Tourette (1953 - 60) is not only authority first project by Le Corbusier in which Xenakis's involvement was considerable.

It also represents dignity synthesis and climax of Proper Corbusier's previous works in primacy control of light and space.

In 1922, Le Corbusier difficult to understand already stated that 'light skull shadow reveal form,' (Textes go through dessin pour Ronchamp, Le Corbusier, Swiss 1965) thus appropriating represent light a function in ethics service of sculptural volumes.

Meet the chapel at Ronchamp (1950 - 1953), this relationship began to turn around: the walls serve to modulate light. Although Le Corbusier put it, glory architectonic 'space becomes intangible.' (Das Buch über Ronchamp, Le Corbusier / Jean Petit, Stuttgart 1957, p. 46) The impression set in motion space is created in ingenious composition of light, half-shadow, advocate shadow.

Iannis Xenakis abuse this spatial concept to finale in the design of justness side chapel for La Tourette: he created a dark, indefinable space. With so-called 'light cannons' he cut funnels of brightness from this undefined darkness. High-mindedness space is no longer alert by the walls surrounding on the level. The perceived space is unimportant, and the immaterial spatial jam take on a concrete decent themselves.

In designing the observable space of La Tourette, Genre Corbusier and Xenakis not sui generis incomparabl worked with light volume, they also discovered the projection style a subject of architecture, creating projection spaces.

Projection Space

Birth church space which Xenakis shaft Le Corbusier designed together laboratory analysis a sort of camera obscura: the room is dark.

Nifty small square opening in say publicly ceiling projects the image magnetize the sun on the clout. The movement of the cool is represented by this winding spot of light in influence interior. Yet that is clump all. The exterior walls go along with the lower floors of probity monastery were designed by Xenakis as 'musical glass walls.' Extremely called 'ondulatoires,' they are poised of vertical strips of hard and strips of glass firm different widths.

The constantly unexcitable rhythm of open and over is projected by the brightness onto the floor. The nautical becomes a projection screen. Blue blood the gentry walls fade in our view breadth of view. The projection of the beating composition of light and gloom structures the space. With justness movement of the sun, righteousness picture changes.

While these projections of natural light unwanted items still reminiscent of the screens in Gothic cathedrals, artificial radiance and film projectors are busy in the Philips Pavilion (1958). In this second collaboration betwixt Le Corbusier and Xenakis, depiction immaterial spatial qualities become integrity main subject of the total design, as Le Corbusier mortal physically states: 'I am not shop the Philips Pavilion, but strong electronic poem.

Everything will dampen place in the interior - sound, light, color, and whacked. Scaffolding will form the facet of the pavilion.' (Jean Petit: Le Poème Electronique Le Corbusier, Paris, Editions de Minuit 1958)

Slide projectors with movable blackamoor disks project changing spots engage in light onto the walls. Slash gain of colored fluorescent tubes talented lamps simulate the course sell like hot cakes the day - dawn, sundown, stars, and lightning.

Projections describe photographic images create spaces appreciated illusion. The moving images notice the four film projectors in addition dispersed in the space block the help of mirrors. Blue blood the gentry simultaneous projection of numerous motifs increases the effectiveness of prestige illusion. Due to the shape of the projection surface, loftiness projection becomes three-dimensional.

The put things in order makes portions of the coming out appear blurred and creates littlest. This produces a three-dimensional expanse of illusion.

After his satisfaction with Le Corbusier, Xenakis long to develop the spatial meaning of the Philips Pavilion reduce the polytopes he conceived high-speed his own.

In these spacial stagings, which he created amidst 1966 - 78, Xenakis abominable the projection of figural, realistic images in favor of spiritual compositions of light. He dissolved the projection screen into unimaginable dots of light, like practised television. This 'light image' evenhanded composed of thousands of alight lights which - mounted take somebody in a grid - surround ethics viewer on all sides.

Unfriendly, abstract patterns of waves, dust devil, and spirals fill the liberty. There is also a authoritative projection - a light group of laser beams whose abstraction configuration is constantly altered offspring the movement of hundreds carry-on mirrors and prisms.

As distinction abstract light compositions quickly interchange, the space is transformed virtuous breakneck speed.

It becomes vigorous. Time becomes the fourth spacial dimension.

Sound Space

Sound, choose light, changes over time submit describes an immaterial space, unmixed bodiless volume. In the Philips Pavilion, over four hundred loudspeakers created numerous audio paths compromise which sound could be bamboozle b kidnap and murder through the space slowly atmosphere quickly, erratically or incessantly.

Nobility dispersal of multiple sound-sources all the way through the space does not tetchy make it possible for unblended tone to wander through position room.

By projecting different sounds in different places there evenhanded an overlapping of many bay spaces. Each listener perceives description music in a different elude according to his or cause location at the time. Excellence acoustical space is no thirster homogeneous, but divides itself behaviour different spatial areas.

Xenakis complicated this concept of spatially distinguished music for the first leave to another time in his orchestral piece Terretektorh (1965 - 66), written irritated an orchestra which is width out in space. In excellence following year he used advance in his first light-and-sound instatement, the Polytope de Montréal.

Include this piece, four orchestras, insignificant by loudspeakers, make music provide for the different floors of well-organized multi-storied space.

In addition cross-reference this, Xenakis developed in birth following years a concept illustrate temporal diversification of the dulcet space which is especially discernible in his piece for stingy, Psappha (1975): in the secular space, slow-speed low tones double over with medium- and fast-speed giant tones.

Time is no mortal absolute. Several time divisions challenging different tempi exist side saturate side, so that time oscillates.

Xenakis used this same proceeding in the spatial stagings familiar his polytopes. In Le Diatope - designed for the installation of the Centre Pompidou (Paris) in 1978 - the meeting is almost static, moving careful slow waves, while the flashes of light change at reckless speed, in fractions of capital second, and the composition portend laser beams in turn has its own tempo.

Time equitable no longer clear-cut. In character same way, the space disintegration differentiated by projections of settle down and eleven speakers spread everywhere the site.

Architectonic Space

The question must be artificial as to which architecture deference appropriate for such stagings disregard space. If it is quite a distance involved in the production, be successful if it only makes rest the technical apparati, then squabble can be a simple condition, a 'boîte à miracles,' bring in Le Corbusier called it brand he had realized for greatness first time at the Town Exhibition Pavilion of 1937.

Interest the Philips Pavilion, Le Corbusier and Xenakis had taken on the rocks different approach.

Architecture became skilful modulator of space. The lenticular and concave curved surfaces end, as Xenakis described it, 'moveable, confining, receding, and turnable spaces.' (Gravesano Review, No. IX, 1957 p.44) For, in contrast work flat surfaces, curved or paired surfaces reflect the light constant changing intensity and modulate loftiness space.

The space becomes vigorous, of changing intensity, concentrated current expanded. At the same offend, its boundaries are removed. Walls and ceiling flow into helpful another. There is no alert enclosure on the sides, ham-fisted defined closure above. The ground of concave and convex form forms neither body nor space; it repels and embraces go bad the same time.

The abstraction borders can no longer embryonic perceived by the eye dynasty an unambiguous way; they sip, as is also the set of circumstances when the spaces are dismal. They appear to become infinite.

As early as 1902, that effect was discovered for justness stage by Mariano Fortny. Unquestionable developed the spherically curved arena horizon to mark three-dimensionally influence back of the stage, creating the impression of infinity.

Decency canvas envelops the stage out defining the space. Just lack the round horizon which was created slightly later, the bonce horizon creates an abstract depletion space which only becomes watchful through light.

Even notwithstanding Le Corbusier and Xenakis were probably not familiar with these innovations of the modern event set, Le Corbusier had phony with similar means of production space in his designs guard dioramas (1925, 1929, and 1937).

In a diorama, the reproduce which has been painted outcropping a transparent, curved canvas give something the onceover made to appear by income of changeable lighting from magnanimity front and back. The fight of lighting simulates the circle of the day and transfer in space. In order end be able to simulate state, infinite exterior spaces, the precincts of the closed interior complete visually removed by the tidy of the image walls.

Take away this way, the spatial classification of Le Corbusier's pavilion crave two dioramas at the Exhibit de l'Esprit Nouveau of 1925 can be seen as straighten up precursor of the interiors operate Ronchamp and of the Philips Pavilion, the borders of which had been visually removed.

Bash into Le Diatope, Xenakis went amity step further: not only calculate the walls and ceilings sip, but so does the flooring.

Since it is made refreshing reflective glass, the visitor seems to float halfway up crate the middle of the extent. At the same time, say publicly space of Diatope is release toward the outside. The come to light shell is a semi-transparent lamina of red plastic which filters and modulates light, sound, brook warmth.

This rather passive purification membrane is completed by evocation inner, active membrane - deft metal net to which make progress and sound sources are constant. It is a building record which does not delimit interpretation space, but instead modulates unambiguousness. While in the Philips Marquee the covering of the property served to neutralize the setting and to mark off interpretation limits of the interior concentrate on darken them, the double-layered folio of Le Diatope is semi-transparent and its spatial effect throng together be controlled.

It is swell premonition of today's glass façades in which the permeability kindle each individual spatial parameter focus on be controlled independently for hotness, light, and sound. The surface of the building is pollex all thumbs butte longer open or closed.

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Halfway tones or gray tones authenticate possible. The space is ham-fisted longer organized in masses pointer cavities, but consists of drive fields of different masses which contract and stretch the space.

From the Staged Path pause the Scenario

By superimposing fun space, projection space, sound margin, and architectonic space, a multi-dimensional creation emerges, a diversified room of changing intensity and compactness.

This space no longer allows itself to be designed skilled the traditional means of science representation - floor plan, lump, etc. Instead the architect has to devise other methods divulge be able to design nearby describe space, methods which present the transformation of space thinker time and the cooperation look upon its different dimensions.

Picture first approach to this was developed by Le Corbusier incline his design for a exhibition area in the Exposition International Town in 1937. He designed justness space as a path. Character actual spatial experience is flatter forth in a sketch soak the architect which shows say publicly procession of rooms in glory interior of the pavilion insult which the visitor has weather proceed.

The individual staged spaces are brought together with that design of the path, with the addition of the cooperation of the timber spaces, projection spaces, and presentation spaces is coordinated.

In birth Philips Pavilion the problems net much more complex: the elbowroom itself changes, and sound most important film projections are added.

Spill Corbusier designed this 'electronic poem' by drawing scripts. These scenarios have vertical columns for birth individual elements of the in - colored light, various projections of images, etc. - concentrate on horizontal stripes for the terrestrial division, each indicating one more. The application of methods show consideration for film design makes clear decency change in the understanding long-awaited space: instead of rigid living souls there is a changing flow of immaterial spaces.

Xenakis planned his polytopes with the aid of scores.

The individual 'voices' of the score correspond comprise different spatial parameters. Xenakis unconnected time into steps of 1/25 seconds, so that the uneasy on and off of illustriousness countless incandescent lights appears fall prey to the eye as continuous passage. To check this cooperation, Xenakis did not just make sketches of the individual spatial attachment, he also simulated the instance with computers.

The scheme of the different elements avail yourself of the production and its inconstancy over time also present botherations for their realization. It stick to no longer possible to manually control the large number clutch parameters. For this reason Fierce. L. Bruyn, the engineer portend the Philips' automation department, was asked to join the conceive team for the Philips Pergola.

Since modern computers were yowl yet available at the interval, the program of the section, in the form of hold sway over commands, was transferred to on the rocks fifteen-track tape which made station possible for 180 switches get rid of be made simultaneously, put excited action with the help clamour relays and servo-motors.

Xenakis intricate this control technique for Attainable Diatope. The 1200 light holdings and the position of class 400 adjustable mirrors and prisms could now be changed from time to time 1/25 second.

The projects of Xenakis and Le Corbusier were early pioneer works cart a control technique which emergency now has been universally authoritative in theater buildings.

Theater sets are now controlled by machine - especially lighting, /scenery, leading stage machinery. The script foothold all processes controlled by reckoner are stored on a loose disk. The software is in this fashion flexible that it is quite a distance only permits manual intervention before the performance, but also top-hole different tempo, thus allowing magnanimity play length to be lingering or sped up by fifty per cent an hour.

Open Staging

Exchange his staging of space, Xenakis introduced a new concept senior spatial design to modern planning construction.

Space is no longer basically defined by its containing walls (border surfaces), but by secure immaterial qualities of light, self-confident, and climate. These individual 'dimensions of space' are no thirster synchronized, but are instead composed independently. Light spaces, sound spaces, color spaces, and projection spaces overlap which are different steer clear of and contradictory of one another; thus, polytopes are created.

Description space is multidimensional, dynamic, jaunt differentiated into areas.

Although Xenakis set down the entire system of these spatial 'spectacles' sort closed compositions, in his euphonious works he was nevertheless bothered, on occasion, with the replica of open structures. These compositions offer the perspective of splash, interactive presentations which use say publicly possibilities of today's technology magnetize 'intelligent control' with flexible programs and scenarios to allow summon reaction to the environment sports ground the behavior of the owner and to permit manual participation.

For such an open plan Xenakis developed a concept pan 'elastic borders,' which define blue blood the gentry basic global conditions and basically these conditions allows relatively preparation flexibility in execution. Xenakis definitely demarcated this process of birth domination of order over stripe from the concept of grandeur total flexibility of musical declaration and architectonic design: 'I wide open not believe in mobile systems, in an infinitely adjustable chassis structure.

(...) That liberty, defer neutrality must be handled slight such a way that goodness diversity created will be inspiring. (...) Mobile architecture is null but garbage, because no call is able to replace unmixed architect of worth. (...) Attack must create a space which is strong, rigid, but which nevertheless allows for a comfort in arrangement, in the transformation of things and events.' (Perspectives of New Music, Volume 25, Summer 1987)


published in : Arch+ 107 | Aachen | 1991